Podcast appearances and mentions of David Lloyd

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys debate who deserves to be known as the best T20 bowler of all time.If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Carmen Mpelwane unpacks AB InBev's rising profits despite falling beer sales. David Lloyd of King Alexander Investments introduces a fresh take on LISPs with flat fees and guarantees. Plus, Simon weighs in on subscription fatigue – are we paying too much for too many?

David Lloyd, CEO of King Alexander Investments, describes his company's unconventional ‘only pay when you're winning' fee structure.

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys debate which team deserves to be called the best cricket team in history.If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys debate how the IPL can be more competitive.If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys debate how history will view MS Dhoni.If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

In this episode of the TRX Podcast, host Nathan D'Rozario sits down with Scott Mackenzie, Commercial Director at Horizon Leisure Centres, to explore the evolving landscape of fitness, leisure, and community engagement.With a career spanning leading brands like Fitness First and David Lloyd, Scott shares his journey through the fitness industry—from fitness product strategy to senior leadership. They discuss how leisure centres can strike the balance between commercial growth and community accessibility, the importance of modernising member experiences, and the role of innovation in the future of fitness.Scott also opens up about his leadership lessons, the value of practicing what you preach in fitness, and what it takes to create a lasting impact in an ever-changing industry.If you're passionate about fitness, business strategy, or the future of community wellness spaces, this one's not to be missed.Don't forget to like, subscribe, and follow the TRX Podcast for more conversations with industry leaders.

Welcome to the latest episode of L.I.F.T.S – your bite-sized dose of the Latest Industry Fitness Trends and Stories. Hosts Matthew Januszek, Co-Founder of Escape Fitness and Mo Iqbal, Founder & CEO of SweatWorks attended EHFF 2025 in Cologne, Germany. In part 2 of this episode, Matthew and Mo are joined by: Michelle Dand, Head of Fitness Product and Programming of David Lloyd. Benjamin Roth, Co-Founder and CEO of Urban Sports Club. Jim Pisani, CEO and Board Member of Life Fitness Hammer Strength. David Stalker, Ambassador for EuropeActive.   This episode covers: Evolution of branded group fitness programming at premium clubs in response to boutique competition. The rise of budget boutique fitness concepts in Europe and their rapid scaling approach. Equipment manufacturing strategy and the renewed focus on both cardio and strength equipment. Impact of global political climate and tariffs on fitness equipment production and pricing. The industry's decade-long transition from fitness-focused to health-focused approaches. The importance of offering multiple fitness modalities to meet diverse consumer preferences. To learn more about EHFF, click here: https://www.europeactive.eu/ ====================================================== Support fitness industry news by sponsoring future LIFTS episodes. Contact us at marketing@escapefitness.com for advertising opportunities. Subscribe to our YouTube channel and turn on your notifications so you never miss a new video when it's published: https://www.youtube.com/user/EscapeFitness Shop gym equipment: https://escapefitness.com/shop View our full catalog: https://escapefitness.com/support/catalog (US) https://escapefitness.com/support/catalogue (UK)  ====================================================== Facebook: https://www.facebook.com/Escapefitness Instagram: https://www.instagram.com/escapefitness Twitter: https://www.twitter.com/escapefitness LinkedIn: https://www.linkedin.com/company/escapefitness/   00:00 Intro 02:36 David Lloyd's Response to Market Trends 05:00 Challenges and Lessons from Standalone Boutiques 07:28 Budget Boutique Market and Its Impact 27:58 Life Fitness and Hammer Strength's Evolution 41:35 Impact of Global Political Climate on Business 49:37 David Stalker's Reflections on Industry Growth 50:55 Mentorship and Advisory Roles 52:09 Future of the Fitness Industry

Remember remember...It's Lexi and Anne here to talk about Alan Moore and David Lloyd's dystopian masterwork V FOR VENDETTA! Come check it out as we talk all about one of the most iconic comics of the 20th Century.

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys ask 'who is the most underrated cricketer ever?'If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys discuss what it is really like to face a cricket ball at 90 miles an hour.If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys are asked 'what is the future of cricket media?' If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Hosted by talkSPORT Cricket Reporter Sam Ellard, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel. If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Hosted by talkSPORT Cricket Reporter Sam Ellard, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys debate whether England will win the Ashes at the end of the year. If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber this podcast is taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel.Today the guys discuss what the funniest thing is they've ever seen in cricket. If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

The extraordinary life of a secret Kent millionaire has been unearthed following revelations about her amazing generosity which is set to benefit thousands of people across the county.She lived in a modest 1970s semi-detached home in Whitstable but gifted her considerable wealth to numerous local good causes after she died in 2022 aged 98.Also in today's podcast, Kent County Council transport bosses say they shouldn't be blamed for roadworks across the county because they're not their fault. While there seem to be endless traffic jams and road closures in Kent, the authority's officials and elected members say they don't get to choose when or where they go. A “filthy” B&M store has been given a zero-star food hygiene rating after inspectors found evidence of rats gnawing on pallets of food.Officials discovered an “active infestation” at the back of the discount retailer in Canterbury. Pictures have revealed the extent of flooding on land where a new luxury leisure centre will be built.Plans for a David Lloyd club in Ashford were approved in August but concerns have been raised after the pictures show the majority of the site as being underwater and laced in mud. And you can hear from a Kent granddad who's cycling 1000 miles to raise money for charity. David's grandson Henry was diagnosed with meningitis when he was just six months old and Ronald McDonald House stepped in to support the whole family. 

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber and taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel today the guys debate who they would choose to bat for their lives. If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

Hosted by talkSPORT Cricket Editor Jon Norman, former England coach and broadcaster David Lloyd and cricket historian Jarrod Kimber and taken from the Bumble & Kimber Show on the talkSPORT Cricket You Tube Channel today the guys discuss whether Ben Stokes is one Ashes triumph away from becoming the best England captain of all time. If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Thanks for listening to Following On: Bumble & Kimber Hosted on Acast. See acast.com/privacy for more information.

You're listening to Following On SHORT with David Lloyd and Jarrod Kimber. On today's show the guys answer the question 'What is the most unbelievable thing you've ever seen at a cricket ground? If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. And for even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket Hosted on Acast. See acast.com/privacy for more information.

This week we are joined by Dave Alstead, commercial director at Xplor Technologies. Dave has a wealth of fitness industry experience with over 20 years under his belt. Dave's background in operations and across the supply chain means he's worked with some of the industry's most prominent players – including David Lloyd, Les Mills, and ukactive.His passion lies in working collaboratively to create lasting communities. Whether it's working with gym owners or operators and trainers, Dave knows that building strong relationships is the key to success.Dave imparts so much wisdom around his journey to where he is and how you can implement that into your career.

In the fourth part of our special podcast boxset looking back at the brutal 1974/5 Ashes series, Simon Hughes and Simon Mann relay the drama of the critical Sydney Test, and reveal with David Lloyd and Dennis Amiss - two men who survived that series relatively unscathed - the seismic impact it had on the game. For the entire five-part series go to patreon.com/theanalyst25 Learn more about your ad choices. Visit podcastchoices.com/adchoices

David Lloyd is a veteran of the local radio industry, with over 40 years of experience in roles at LBC, Virgin Radio, and the BBC. He also brings regulatory expertise from his time at the UK Radio Authority, now part of Ofcom. Today, he's a broadcaster and co-founder of Boom Radio, a relatively new UK station catering to baby boomers.In this episode, we discuss the state of BBC local radio, including the details of Lloyd's complaint about BBC Radio Devon's failure to adequately cover the 2024 riots. We also explore the potential role of alternative providers and the impact of the BBC's proposed spin-off service on Lloyd's own station, Boom Radio.“I think the BBC can do a lot better on the resources available, even as reduced. They've still got £120 million now furnishing a lot of very part-time radio stations—that's a lot of money. In other hands, that could actually deliver some incredible local radio, which, yes, is the BBC the right person to be running local radio if it really takes them that much money to deliver it poorly?”Listen to all our episodes here: https://podfollow.com/beebwatch/view To support our journalism and receive a weekly blog sign up now for £1.99 per month (NB we only charge for one creation per month): www.patreon.com/BeebWatch/membership Or if you'd rather make a one-off payment (which doesn't entitle you to the blog) please use our crowdfunding page:https://www.crowdfunder.co.uk/p/roger-boltons-beeb-watch-podcast @BeebRogerInstagram: rogerboltonsbeebwatchLinkedIn: Roger Bolton's Beeb Watchemail: roger@rogerboltonsbeebwatch.comwww.goodeggproductions.uk Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT The UK software firm Evexi has an interesting story behind its move into digital signage - in that it was more a pull from a client than a push by the company itself. They got deeper into it because of a client's needs, and then a change in technology support that really forced the hand of the customer and Evexi. A few years on from that big moment, Evexi is growing out its CMS software business based around a very modern, headless platform and tools that the company says manage to bridge a need for being dead-simple to use but also deeply sophisticated and hyper-secure. CEO Andrew Broster relates in this podcast the story behind Evexi, and how it goes to market. There's also a very interesting anecdote in there about how lift and learn tech is more than just a visual trick for retail merchandising - with Broster telling how it was driving serious sales lift for a big whiskey brand. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Andrew, thank you for coming on this podcast. Can you give me a rundown, like the elevator ride story of Evexi?  Andrew Broster: Sure. Thanks for having me, Dave. My background is very technical. I spent about ten years prior to setting up Evexi running a managed service for a private cloud-based business. In 2015, Sky came to us through a partner and asked for an advertising platform to be built into pub networks, where they had 10,000 pubs under contract to sell Sky Sports to.  We walked away and said, what was the question? But eight months later, the product was released into the pub network and it has nearly 2,700 pubs going live within just under 12 months and really from there, we were working with an existing CMS provider, Scala and we learned a lot of the pains with integrating into third-party systems, platforms, building, customer portals, because the traditional CMSs are not user friendly, and as a result, that was our first digital signage customer and our first project that we launched. So what would you call yourself when you were getting into this with Sky, were you like an independent software vendor who just did custom work for customers?  Andrew Broster: Correct. Yeah, it was literally, “Hey, Andrew, we need to build this workflow portal.” We were trying to solve problems at a software level for end users through, in those days, it was actually still the channel and that was the first exposure we ever had to the channel.  Okay. Now, though, you have your own product.  Andrew Broster: Yes, at the end of 2018, early 2019, we launched Evexi, purely on the grounds of Sky needing a different CMS vendor because Scala was the end-of-life Samsung system on chip support and yeah, Evexi came live and we flipped 2,700 pubs overnight onto our platform, and we were talking about taking a big leap, that was a big leap for and a big learning curve  And how do you do that overnight? The common perception would be if you're going to change 2,000 devices over you've got to visit 2,000 devices or you've got to Telnet into them or something or other and monkey around with each of them  Andrew Broster: No, what we ended up doing was as we created a reboot script that was rewriting the URL from the URL launcher on a Samsung screen and instead of Scala, we flipped them remotely to ourselves.  So with this business, you were asked to develop something for a specific client. Did you look at the marketplace and go, all right, we can do this for sure. We've got a client who wants it We can turn this into a larger business, but boy, there are already a lot of CMS software platforms out there, how do we differentiate ourselves? Andrew Broster: I don't think it was even that really. I think right back in the beginning my other shareholder said to me, is this a mistake? Are we going to just generate a lot of debt within the business? Is this a hard business to get into? I spent probably about three to four months, looking at the landscape, looking at companies, competitors, and companies that basically had one successful client and then struggled to grow out of the single client, and really from my point of view, it was, because I was very technical by nature, I wanted to be able to build a platform that was using the latest technologies. A lot of our competitors, less so now, but at the time in 2018-2019, were using a lot of aging software technologies, and scaling issues, so just single servers.  I'm a network architect by trade. I wanted to build a cloud-based platform that uses the same technologies as Amazon AWS and Netflix, and that really for me was the ability to have what I call a native cloud product and not make the same mistakes that everybody else does, because when you're building a product and trying to go to market, you have to really try and avoid making all your competitors' mistakes. So you ended up with what I believe you describe as a headless CMS, right?  Andrew Broster: Yeah, it's a headless CMS. By design it was headless, and then we put in a very simple UI because we had right back in those days, about 2,300 landlords wanting to publish their own content. So it really had to be very straightforward to use and we wanted to automate everything else in the backend. So things like rendering automatic web content, being able to have a platform that's open that anyone can build onto.  I'm from an open-source background originally, so I wanted to make these tools readily available to all of the partners and the ecosystem we're working in. So when you say headless CMS, what does that mean for a typical end user?  What I think about is that you've got creatives, people who are working on online products and so on, who don't want to back out of their normal workflow, platforms and log into something separate just to do digital signage. Andrew Broster: Correct, and for the larger companies integrating into our APIs, which are publicly available, means that we become an extension of their product suite rather than copy and pasting and moving content around. We just end up at the end of the line of the production, and then content gets scheduled, instead of having to log into another system. I'm a big fan of automating and integrating everything. What would be a good kind of reference example of companies that you're working with that you're allowed to talk about?  Andrew Broster: Sky is the obvious one. We did a lot of work with David Lloyd, on some projects for their gyms. Johnny Walker and Diageo in South Africa. And they've integrated into our APIs as well, whereby, they had a lift and learn solution using Nexomsphere integrated into Evexi. They built their own web apps sitting on top of a platform for the customer user journey, and then every time you want to go and change products, they have their own merchandising platform. So it gives the whole user journey without even touching a backseat, to be honest with you, and we just turn into ultimately a distribution engine because what we're doing is providing the player to be sophisticated and be able to play whatever content has been built and developed, but the changing the scheduling and interaction of it is all done through our APIs. So you mentioned the Sky project. That's still fully going. What kind of footprint does that have at the moment?  Andrew Broster: It still has around 2,000 screens. I think they're very heavily looking at the market at the moment, and seeing who else is doing it. Stone Gates are doing a great job at the moment, running out of a media platform into a pub network and I think it's fair to say we all collectively are just watching that to be honest with  You're all watching it for?  Andrew Broster: To see how that project evolves and whether it's going to be a success. I mean Sky were the early adopters of this in pub networks and I think like anything in this world, to be able to attract the big liquor brands and the beverage brands, you need to have a reasonable footfall, and that was always the argument right back in the beginning. How do you pump advertising revenue into your advertising network, unless you've got a footfall of half a million to three quarters of a million people.  Right. You're doing a lot of work with Nexonsphere. I just did a podcast with them a couple of weeks ago.  Andrew Broster: I know them well.  I like what they do and it's interesting that “Lift and Learn” is something that's been around for 20 years, but it used to be really hard to do. Is that what's being used for Johnny Walker and could you describe it?  Andrew Broster: Yes, it is exactly that. So if you walk into a liquor store in South Africa, you can pick up a product. It'll tell you about the product. You can pick up another product. It'll compare the two products, and then you follow the user journey on a screen after you've picked up the products to be able to inquire or pick up more information about the product. So in the Johnny Walker world, it's about understanding the different flavors of Johnny Walker and what the blend and what the mixes you have with the alcohol and the key to all of that is to understand who's using the product and to be able to provide that information back to the brand.  For me, that was a great project for us because we had so little involvement. I know that sounds ridiculous, but when you have a technical partner who is very tech focused, very marketing focused and who knows how to build apps using documentation, we have very little interaction, but I think really the beauty of it is the numbers that are coming back now is that they're seeing across, I think it's about 160 to 180 sites, they're seeing between a 40 and 42 percent uplift in sales and the tills as a result of using learned because they're doing a lot of A/B testing. So we know it works, and for us, it's making the next must be integration. Now, you don't have these drop down menus, don't have a CMS that's completely and utterly configure-centric, just need to be able to build out your solution because no Lift and Learn solution is the same and you need to be able to get there in 5 or 10 minutes. Right, because you want this to be largely in the hands of the integrator, the provider, whoever.  Andrew Broster: Our objective is to make the integrators' lives easy. If we can't make their lives easy, what's the point really from my point of view, frankly, of existing. They need to make money like we need to make money and the easiest way of doing that is just to make their lives easy. When you're on a journey of looking at getting into space and analyzing the other platforms that are out there, the other approaches and so on, what kind of conclusions did you draw about what you needed to do? Andrew Broster: How I looked at it was: We have many small customers and we have some very nice blue chip, large customers, and ultimately you need to make the small customers' lives very easy, three steps to be able to publish content and manage your content, and then when it comes to the big boys, you need to be able to become an extension of their existing workflows. Our goal really was, is to just build something that one is open, and two is very easy for an end user to use, because ultimately, in our space, we have systems integrators that are ultimately just resellers and they just resell the service and they're not technical, and then we have other integrators that we call our technical partners that are hugely technical. I want to be able to do stuff that we haven't even dreamt of yet, and it's the ability for them to be able to have that platform to do what they want.  So if you're going to do headless, it sounds like you have to have that capability, but for the small to medium business customer, they're probably not going to use the headless element so you've got to have a full UX for them, right?  Andrew Broster: But you've just got to give them a really easy journey. If they can use Facebook or they can use Instagram, they should be able to use a CMS. It should be as simple as that. Ultimately, our goal is login.  In our world, it's, you've got three things. You've got a player, you've got media, and you've got to be able to publish it, and it shouldn't be more complicated than that because that's what the smaller clients want. They want to be able to schedule content and they want to be able to update content very easily.  Is there a particular market vertical that you guys are strong in? Is it retail or is it QSR?  Andrew Broster: It's a fight between the two at the moment. We're doing a lot more work with Elo, Micro Touch in the U.S. at the moment. So we are using Blue Star in the U.S. to sell through to the channel, and so QSR is an interesting space because of the Square integration. You can plug a square device in and a touch screen in and within 20 minutes you can have QSR running on a touch screen to be able to do the ordering. It's four clicks in our system. You authenticate against the Square, you choose your products and off you go. So that space for us is very exciting for us. In the retail side, I think predominantly because of the way we position our product for integrations into Nexomsphere and stuff like that, that makes it quite an attractive offering.  With kiosk, and point of sale, I don't know that world all that well, but, Square, I think about it as transaction processing. Do you still have to jack into a point of sale system or is that something you can provide?  Andrew Broster: No, we are ultimately like a silent salesman sitting there. So we're literally integrated straight into Square's APIs. We pull up the products and we're just another method of ordering. So we work and the integration works just like online ordering, but we're just presenting it on a pretty screen, which is touch enabled. So that integration for us Is key, but actually very simplistic  Because you're doing from what I can tell on the web, a lot of kinds of interactive work and use portrait screens to do that. I see most digital science platforms as being very distinctly oriented around landscape and large format displays that don't have interactive. Is it hard to straddle the two?  Andrew Broster: No, not really. At the end of the day, it's a player for us. We have customers who've got large LED screens which is great, works very well. I would say we're particularly strong in the portrait side of the world.  But at the end of the day, all this technology doesn't work without any content creators. So we've got some very nice strategic content partners that do all of this work, which worked very well with our systems integrators.  So you would just point to them when a customer asks, you say, “These guys can help you out?”  Andrew Broster: Yeah, so if they don't have it in house and we say look, sure, no problem. We've got three or four of our preferred content partners who are actually quite tech and web app enabled, so they like to do some of the experiential stuff which ultimately then boils back down into the Nexomsphere world. So there again, it's a nice blend.  I believe you got into this in part, to do the Sky thing, that at that point it was a system on chip displays. Is that accurate?  Andrew Broster: Yes. So Sky has a very close relationship with Samsung, and the remit was that they had to be a Samsung screen system on chip. Now we're going back to 2015-2016 models, the very first generation way before Tizen. So yeah, that was the requirement, and off the back of that, it was, which CMS vendor can support these screens? Because in those days, system on ships didn't support portraits. You had to do clever stuff to make the content play in portrait in those days. That was the reality of it, and then, yes, in those early days, it was Scala that we originally integrated into. Then once Chris Regal and Stratacash bought Scala, that was the end of Samsung and SoC, right?  Andrew Broster: It absolutely was. It was, I think the initial shock was, what do we do next? But as I said before, Sky came to us and said, look, we have to keep this advertising network running. We need it supported. We need a platform that can scale a lot further than it currently runs at the moment, and we welcome that challenge, really. Don't forget we, at the time we were only seven or eight strong, we're now nineteen strong straddling three countries. So we've grown up a lot since then, but for a company of that size at the time, it was quite a big challenge. One of the things that I've heard through the years with system on chip smart displays is as you alluded to when they first came out, they weren't very powerful, weren't very capable.  I heard, as subsequent generations came along, they got quite good, they got quite powerful, but more recently, I've heard the opposite that because of the demands that are out there now for end devices that they can't handle everything, that they don't have the processing power to maybe do stuff that has aspects of AI related to it or anything else. I'm curious about your experience.  Andrew Broster: I think if you look at it from a HD point of view, no issues, 4k, don't see any issues. We saw some early issues in around Tizen 4 particularly. So we're talking about three or four years ago. Tizen 6, 6. 5 and 7 have been reasonably good.  Don't forget, we now integrate using Nexomsphere controllers, we're doing a lot of work with LIDAR, with Nexomsphere as well and predominantly these Tizen screens, they're just very dependent, not only on the processor, but on the Chromium version. If you're running a screen that's running a four year old Chromium version, you're going to have a whole ball ache when it comes to doing some cool stuff. But the later the Chromium release, the more feature rich, it actually becomes.  So there's no issue handling the complexity of content?  Andrew Broster: No, we have thousands of Samsung screens on our estate. They are in our world probably the most reliable devices. I have heard that there's been a push lately amongst end users to go to independent standalone media players and to decouple from the displays and not be relying on them. Are you hearing that in the community?  Andrew Broster: Yep, we are.  What's driving that?  Andrew Broster: So just to summarize we support anything Tizen, let's just say anything Samsung WebOS. We support Linux, Windows, Pi5 as well but I wouldn't run an estate on a Pi5. We're seeing a lot of drive now down the Android route, and my background is security, and I've always had a huge aversion to going near Android players. But there are a couple of new parties involved in the market that we're starting to work with who are releasing what we call their own orchestration platform for supporting Android so they can roll out thousands of these devices, keep them updated, keep them online and healthy and I'm actually quite receptive to it because I've always been very allergic to it, but going back to your point, I think a lot of it is possibly some of the integration issues or some of the requirements for external devices to function.  It took us nearly two years to get Samsung to open a USB port for us. People don't hang around for two years just to be able to have an integration port, being able to have an external device using that, which natively support, is actually a huge stepping stone and a huge advantage.  Why is that?  Andrew Broster: Because there's no compatibility issues. if I have to keep going back to Samsung every time I want to be able to have another driver to support over USB, and they turn around and say, two years later, yeah, guys, we finally decided that there's a big enough opportunity in the market to do it. We will consider it. That's all well and good, but the smaller, external media player companies, can move a lot quicker than that.  Right. I did an event where I was supposed to be using Samsung kiosk for checkin…  Andrew Broster: Oh, don't I know it.  I just wanted to use a little thermal printer and they said, we don't have that because that needs a Windows driver and we don't have that, so too bad, so sad.  Andrew Broster: Yep, absolutely.  But just leave it at that.  Andrew Broster: Put it this way. I mean we support the Samsung Kiosk on Tizen. They have a barcode and QR scanner. Does it work? Not really. They have a printer. Does it work? Yes, but it's only that printer. You can't plug anything else in it and it'd be supported because the Tizen operating system doesn't support it. So it's hardly surprising that people just go out and say, actually life's so much easier if I just plug another device into it, because I just know that the peripherals of work, and that for me is probably the approach I'd look at too.  If I'm a large brand and I just want to roll out 1500s, let's call them devices, and then all of a sudden, the panel vendor says, no, we don't support that device. You can't wait for a decision to be made. You just got to get on with your project, and yes, that's a perfect space for media players.  Because you've now been in this industry for some time, but spent a lot of time looking at it, where do you think things are at? Because I see far too many software competitors out there and I'm always amazed when a small startup contacts me and says, we're doing this too, here's what we're up to, and I'm thinking, why did you start this? There's so many competitors to begin with.  What do you see and what will happen? Because I just see the herd being thinned out.  Andrew Broster: I think what I'm carefully observing at the moment is the number of acquisitions that are taking place. We see it, if we look at grass, fish and dice, and the aggregation and the buying up of what I look at as like the supply chain and ultimately trying to go direct.  I think that's for me, I think that opens more doors than it closes for us. Not only on the fact that, ultimately my business needs to have a value and it needs to be able to be, one day, I would like to walk away from this. From my point of view, looking at it and seeing one, competitor being swallowed up or acquired by systems integrators is a great thing. But two, it also leaves a very open to us because what then happens is you've got a UK based company buying from fragments like a what was a European digital signage software platform who's now actually realistically going to become a direct competitor because they will then start competing in the same space for the same customer base. For me, that's great. We get calls quite regularly saying, oh yeah, but yeah, we can't buy those licenses anymore because they're now a competitor. The board won't approve it.  So from my point of view, it's great, and it's exciting, and for us, we're picking up new businesses as a result of it. What I'm seeing, which I'm quite enjoying at the moment is a lot of the hype around retail media. I did a podcast couple of weeks ago about it, with one of our systems integrators. Chris Regal is doing a great job of talking and educating the market. I think his insights are very valuable. I have a lot of respect for Chris. I have done all of these, even going back to when he acquired Scala, but I haven't yet seen a very good implementation of a retail media network. I don't travel the globe every day, but I do a fair amount of travel. But I think really for my business and other businesses our side, the retail media side of it is purely targeted messaging, ultimately, if you want me to look at it that way. I don't think that's exciting. Who would you describe as a good partner company and a channel to work with, because there are some integrators who I tend to call solutions providers because they truly understand it versus AV systems integrators who are really good at deploying stuff in workplaces and other kinds of spaces like that, but they don't understand content, they don't understand the software. They just put stuff in.  Andrew Broster: Yeah, hang and bang as I call it.  Yeah. I don't like to use that term because they don't like it, but that's...  Andrew Broster: There's no disrespect. Yeah, to it, to any of those guys, everybody has their business model, right? We have this really nice blend of very sophisticated system integrators down to the ones that just want to look after the smaller end users, and they're as valuable to us as anybody, because we give them tools that they just go in and plug in and exercise. That's an easy route for us really, because we were selling a box product with an add on, and they can go in and install a box product with an add on and it's just two pieces of software for us. That's perfect.  I think about end users and the enterprise level ones often wanting a fully managed solution where, look, we're going to outsource this thing to you guys, we'll give you direction and everything else, what we need, but you guys do it.  Are you also seeing that with some of your channel partners that even relatively small deployments, they want that full managed solution?  Andrew Broster: We are, and we're seeing more and more of it, and that's exactly where our systems integrators sit in that space, and that's great. More and more to be honest with you, I think, we saw years ago, like everybody wanting to move to the cloud and just push the problem away and trying to lower the cost of IT systems, right?  I think what they're also trying to do now, certainly in the marketing side of these brands, is they want to be able to push that out and just know it's going to be looked after. It's easier to have a fully managed service for the systems integrator that has a help desk, a support system, people on the ground, technical experts and the partners that we work with, they're all certified Evexi Partners.  We get maybe two or three calls a week from an escalation point of view with something, but the rest of it is handled by our systems integrators.  That's a good situation.  Andrew Broster: I always look at it erctainly the channel is we're like the software guys, we're not the help desk guys. We're the guys that want to build the software, look after the software and release more features in the software. The systems integrators are great at looking after the customer, supporting the customer and delivering everything to the customer. We fit in quite nicely.  So it's either two things. Everything's going well, or they've given up on you.  Andrew Broster: No, it's not, because I keep buying licenses, and that's a good thing.  Absolutely. I believe you have a busy next few weeks coming up here. You're at NRF and then ISE. Andrew Broster: Yeah. So we're at four trade shows in the space of four months. Next year we are with our partner's Ergonomic Solutions, NRF, which will be great, really looking forward to that. Our US market footprint's growing, so we're enjoying that relationship, Blue Star is an integral part of that. We enjoy working with those guys.  ISE, again, the Ergonomic's stand, we're showcasing a lot of new tech. So a lot of it is nice integrations with Nexomsphere as well. A lot of touch applications, experiential stuff. We're on the Nexomsphere stand with them as one of their supporting partners and we're on the Samsung stand, and then at the end of February, we go to Eurosys, which I find fascinating because it's a very different market and it's very retail focused. So we're there for a week and then we're at the Retail Tech Show again, and we'll be supporting three or four of our UK partners as well as Ergonomic Solutions as well at the Retail Tech Show. So it's a very busy beginning to the year.  All right. I will let you get organized for all that. Thank you for taking some time with me.  Andrew Broster: No problem at all. Thank you very much for having me.

Pues entre el Hellboy de estos días y el Hellblazer de hoy, mucho infierno nos está quedando para estas navidades, pero merece la pena. Rozando el fin de año os dejamos hoy con Hellblazer 250, un número un tanto rara avis que pilló allá por las navidades de 2008, en la transición entre la etapa de Andy Diggle y la que emprendería el camino al final con Peter Milligan al frente. Y es un número raro además porque es además una antología y es completamente navideño, unos terrenos donde tal vez no vemos muy habitualmente al bueno de John Constantine. Para la ocasión tenemos aquí nombres como Dave Gibbons, Sean Phillips, Jamie Delano, David Lloyd, Brian Azzarello, Eddie Campbell y otros Selección musical: 🎶 The Twelve Days of Yaksmas, de Ren & Stimpy's Crock O' Christmas 🎶 What Are You Doing New Year's Eve, de Ella Fitzgerald

A conversation with the legendary David Lloyd that starts off on the pressures of being away at Christmas - whether playing cricket, coaching or commentating - then veers off into a very funny discussion about 80s gameshow "Bullseye" being rebooted under Freddie Flintoff. Classic Bumble! For those of you who are too young to remember "Bullseye", take a look at this: https://youtu.be/YlTsyaHh37M?si=YLODF8cO1aCE5-8X

Recently, I've had to really really DIG IN.Grind. Grind. Chew glass.Wade in. Full send. Gary delivers a Masterclass in Grit & Sales Our conversation really helped me.I know it'll help you, too. ON THE MENU: 1. Why going bankrupt is a death by a thousand paper cuts - but it's the best day of your life too2. Sell. Sell. Sell. Why too many brands skip Challenger Brand “Leg Day” - you HAVE to get good at sales3. Why “Denial” is both very good and bad in business + how to use the power correctly4. How Challenger Brands can launch SUCCESSFULLY in Ireland: “The Irish market is way more complicated”5. Be GRATEFUL: Why the UK grocery market is the best in the world vs. Australia and USA vs. France6. VITHIT's Brand Code: Look great. Be great. Taste great7. Zoom out + Embrace GENUINE optimism: “Failures are little steps on the ladder to success”8. Why the Irish punch above their weight in business: “Storytelling is in the Irish blood” - The storyteller is the most important person in the world (Steve Jobs)9. Is the David Lloyd the greatest distribution point of all time? “How do you catch your shopper on their journey?”10. “If you focus so much on a closed door, you'll never see the open door right next to you”11. Why “Insecurities” are a modern-day problem: “If you ask, What's wrong with me? You'll find something”12. How to build a brand WITHOUT VC funding and why brands with HUGE VC funding are going BUST!!!13. The Rolling Stones brand-building rule: Pick a dead category and innovate there.14. How to deal with people fcking you over: Don't leave yourself open + Get the fck on with it15. How to survive when you're in the shit: “You only need to win once” + “Just keep going, it's a never-ending fight”

We finally did it! We tackled one of our proverbial white whales: V FOR VENDETTA by Alan Moore and David Lloyd. It's such a precise, dense, frustrating, and prophetic treatise on the escalation of fascism in a failed state. Simultaneously, it's a gorgeous, hopeful, and inspiring manifesto for building a world based around love and community care from the ashes of the fallen authoritarian empire. In our discussion, we talk about the way this book (and the subsequent movie) have been warped in the public eye, how Moore's political praxis is front and center, and how we can take up V's cause in the fight against fascism today. Oh, and please, for the love of god, don't do LSD in a concentration camp...

Given the choice Peter Morgan would rather be spending time with his horses than standing around with a mobile phone. He very kindly made an exception for us last week, and we've been able to capture some of his recollections of a life with horses. Peter talks firstly about his talented galloper Burrandana whose first up win at Gundagai recently proved he's on track for a TAB Highway mission. The veteran trainer talks of Burrandana's troublesome feet. Peter says he actually bred the horse. He looks back on Burrandana's form line with special mention of the Wagga win that was taken off him. A substance used on another horse in the stable showed up in Burrandana's post race swab. Pete says a very hefty fine ensued. The trainer talks of Burrandana's five TAB Highway attempts. He hasn't been able to win one yet, but he's knocking on the door. Peter speaks of Burrandana's owners, long time clients David Lloyd and Geoff Miller. He mentions another recent winner from the stable in Unique Prince who's due back in work following a break. Peter looks back on early days in Melbourne under the tutelage of his grandfather Frank Kernaghan. He says Frank was a skilful trainer who was rarely without a handy horse. He had one very talented hurdler. He says one piece of advice offered by his grandfather has remained with him over half a century. Peter was apprenticed to Frank Kernaghan and had a short stint as a jockey. He rates his talents in the saddle. He talks of the legendary jockeys he got to know in the 1960's. He says one of them took an interest in his progress. During his apprenticeship at Flemington Peter got to know some famous trainers. He makes mention of a couple. Peter says he eventually borrowed boxes from his grandfather to get his own training career under way. He runs through a list of horses who helped to get him up and running as a professional trainer. Peter moved to Albury in 1974 and brought with him a promising apprentice jockey. The trainer acknowledges other talented jockeys who've given him good service since moving to the Riverina. Peter says the art of horse training has changed dramatically in recent times. He talks of the accessibility of racetracks from his Wagga base. Peter mentions some of the trainers he's most admired. In naming the best horse he's seen in six decades, the veteran plumps unequivocally for Tobin Bronze. We share a few memories of the great horse. The laconic trainer doesn't waste words in taking us back over his journey in racing.

Remember, remember, one of the weeks in November. We talk Alan Moore and David Lloyd's V For Vendetta along with all the big news of the week!https//www.editorsnotecomics.comhttps://www.patreon.com/editorsnotecomicsPop Culture News 9:40Weird Movie Facts 25:25Sports Report 27:45V For Vendetta 35:05What Franchise Should Take A Break? 48:55

This is part of a series about movies based on comic books. ***Referenced media:“Hulk” (Ang Lee, 2003)“Justice League” (1960-now) by Gardner Fox“Promethea” (1999-2005) by Alan Moore, J.H. Williams III, and Mick Gray“300” (1998) by Frank Miller“300” (Zack Snyder, 2007))“Watchmen” (1986-1987) by Alan Moore and Dave Gibbons“Star Wars: Episode IV – A New Hope” (George Lucas, 1977)“The Incredible Hulk” (1962-now) by Stan Lee and Jack Kirby“La Femme Nikita” (Joel Surnow and Robert Cochran, 1997-2001)“Star Wars: Episode V – The Empire Strikes Back” (Irvin Kershner, 1980)“Inception” (Christopher Nolan, 2010)“V for Vendetta” (1982-1989) by Alan Moore, David Lloyd, and Tony Weare“King Solomon's Mines” (J. Lee Thompson, 1985)“American Splendor” (Shari Springer Berman and Robert Pulcini, 2003)Audio quotation:“The League of Extraordinary Gentlemen” (Stephen Norrington, 2003), including music composed by Trevor Jones, https://www.youtube.com/playlist?list=PLohYzz4btpaR4ijRiDh7c_um07ONIlBzQ“Main Theme” from “The Hulk” (Ang Lee, 2003) composed by Danny Elfman, https://www.youtube.com/playlist?list=PLohYzz4btpaQYdvYlbq7Vw2z3YNwxPNXE“One Dream” (1991) by Lou Gramm from the “Highlander II: The Quickening” (Russell Mulcahy, 1991) soundtrack, https://www.youtube.com/watch?v=k3E7X7BHpz4

David Lloyd (St. Paul's)

A pub landlord could be stripped of his licence after a fight broke out in the wake of England's Euro 2024 final defeat which left one punter with potentially life-changing injuries.The incident happened in the pub garden in Wainscott, but police say it wasn't properly reported to them until the next day.Also in today's podcast, a former Sturry pig farmer embroiled in a planning war after switching up his business without permission says he will defy council if it tries to shut him down.His retrospective application has been rejected, but he's vowed to continue trading even if enforcement action is threatened.The KentOnline podcast has spoken to a woman who thought she'd be rich six months after opening a sandwich shop in Dartford but is now struggling to survive. She's told us the cost of living crisis is still affecting small businesses, with costs doubling and customer numbers falling. A garage boss on Sheppey is worried his firm's reputation has been damaged due to a water leak saga that's been going on for 19 months.He says he's unfairly getting the blame for the issue, which has turned the pavement outside his business into a “dangerous joke”.And gym bosses in Herne Bay say they're not feeling the pressure despite plans for a huge luxury health and fitness complex in the town. You can hear from some gym owners who say they're not scared of the proposals for the new David Lloyd Leisure site – as it will attract a completely different clientele. 

A estas alturas todo el mundo conoce la película o ha leído la obra literaria en la que se basa. Estrenada en 2006 tuvo bastante repercusión y ésta llega hasta nuestros días. Está claro que los hechos que narra no son tan de ciencia ficción dado lo que está ocurriendo en nuestros días. Es por eso que he creído factible hacer un análisis sobre la misma porque su fundamento tiene más vigencia que nunca. “V de Vendetta” es una obra icónica, tanto en su versión original como cómic escrito por Alan Moore y dibujado por David Lloyd, como en la adaptación cinematográfica de 2005 dirigida por James McTeigue y producida por los hermanos Wachowski. Esta obra es un comentario profundo y crítico sobre el poder, el autoritarismo y la resistencia individual y colectiva frente a la opresión. A continuación, te presento un análisis detallado de “V de Vendetta” desde varias perspectivas: 1. Contexto Histórico y Social La historia se desarrolla en una Inglaterra distópica, gobernada por un régimen fascista conocido como Norsefire. Este contexto refleja las ansiedades y preocupaciones sobre el autoritarismo y la pérdida de libertades individuales, influenciado por el clima político de los años 80, cuando Margaret Thatcher estaba en el poder en Reino Unido y Ronald Reagan en Estados Unidos. Alan Moore, conocido por su inclinación política hacia la izquierda, escribió “V de Vendetta” como una crítica al auge del conservadurismo y la erosión de las libertades civiles. 2. El Personaje de V V es un enigma, un símbolo más que un individuo, lo cual es intencionalmente ambiguo. Su máscara de Guy Fawkes, un conspirador histórico que intentó volar el Parlamento inglés en 1605, se convierte en un emblema de resistencia contra la tiranía. V, que en la película es interpretado por Hugo Weaving, encarna tanto las virtudes como los peligros del anarquismo. Es un personaje complejo que lucha por la libertad a través de medios violentos, cuestionando si los fines realmente justifican los medios. La ideología de V está profundamente influenciada por el anarquismo y el libertarismo. Aunque su misión es destruir un régimen opresivo, su visión de un futuro ideal es uno sin gobernantes, donde los individuos son verdaderamente libres. Esta idea es representada en su discurso sobre la libertad y el caos, y en su voluntad de morir para permitir que su ideal continúe. 3. Evey Hammond Evey, interpretada por Natalie Portman en la película, representa la transformación personal y la liberación del miedo. Comienza la historia como una joven temerosa y sumisa, pero a lo largo de la trama, bajo la guía y manipulación de V, se convierte en una figura fuerte y capaz de tomar decisiones autónomas. Su evolución simboliza la capacidad humana de resistir la opresión y encontrar una identidad propia, libre de las cadenas impuestas por el poder. 4. Temas Centrales • Autoritarismo y Libertad: El régimen de Norsefire es una representación extrema de un gobierno totalitario, donde la libertad de expresión, la disidencia y la diversidad son suprimidas en nombre de la seguridad y el orden. V, por otro lado, defiende la idea de que la libertad auténtica solo puede surgir a través de la destrucción de un sistema opresivo, aunque esto implique caos y violencia. • El Poder de las Ideas: “V de Vendetta” explora cómo las ideas pueden ser más poderosas que cualquier individuo. La máscara de Guy Fawkes se convierte en un símbolo de resistencia global, lo que refleja la capacidad de un símbolo o una idea para trascender a la persona que lo origina. • Miedo y Control: El gobierno de Norsefire utiliza el miedo como herramienta para controlar a la población, una estrategia que tiene ecos en la vida real, donde los gobiernos a menudo explotan amenazas (reales o fabricadas) para justificar la represión y la centralización del poder. 5. Simbolismo La obra está llena de simbolismos que refuerzan sus temas centrales. La máscara de Guy Fawkes, como se mencionó, es un símbolo de resistencia. El número “V” y el uso de la letra en la narrativa (representando el número 5 en números romanos) son recurrentes y refuerzan la identidad y misión del protagonista. La rosa escarlata que V deja como firma en cada asesinato es una referencia a la belleza efímera y la muerte. 6. Adaptación Cinematográfica vs. Cómic La película “V de Vendetta” introduce cambios significativos con respecto al cómic original, especialmente en su enfoque ideológico. Mientras que el cómic es más explícitamente anarquista, la película suaviza este mensaje, presentando a V como un luchador por la libertad en un sentido más amplio y menos ideológicamente específico. Este cambio hizo la película más accesible para un público masivo, pero también ha sido criticado por diluir el mensaje radical de Moore. 7. Relevancia en la Cultura Contemporánea “V de Vendetta” sigue siendo relevante hoy en día, en un mundo donde las tensiones políticas, la vigilancia estatal y las luchas por los derechos civiles están más presentes que nunca. La máscara de Guy Fawkes ha sido adoptada por movimientos como Anonymous y Occupy, convirtiéndose en un símbolo universal de resistencia contra el poder. 8. Conclusión “V de Vendetta” es una obra poderosa que invita a reflexionar sobre el poder, la libertad y el papel del individuo en la sociedad. Aunque el uso de la violencia por parte de V puede generar controversia, su lucha por un mundo más libre y justo resuena profundamente, especialmente en tiempos de crisis política y social. La obra nos recuerda que, aunque los regímenes pueden intentar reprimir la disidencia, las ideas de libertad y justicia son inquebrantables y capaces de inspirar cambio más allá de cualquier figura individual. Puedes leer más y comentar en mi web, en el enlace directo: https://luisbermejo.com/plomo-o-salud-zz-podcast-06x03/ Puedes encontrarme y comentar o enviar tu mensaje o preguntar en: WhatsApp: +34 613031122 Paypal: https://paypal.me/Bermejo Bizum: +34613031122 Web: https://luisbermejo.com Facebook: https://www.facebook.com/ZZPodcast/ X: https://x.com/LuisBermejo y https://x.com/zz_podcast Instagram: https://www.instagram.com/luisbermejo/ y https://www.instagram.com/zz_podcast/ Canal Telegram: https://t.me/ZZ_Podcast Canal WhatsApp: https://whatsapp.com/channel/0029Va89ttE6buMPHIIure1H Grupo Signal: https://signal.group/#CjQKIHTVyCK430A0dRu_O55cdjRQzmE1qIk36tCdsHHXgYveEhCuPeJhP3PoAqEpKurq_mAc Grupo Whatsapp: https://chat.whatsapp.com/FQadHkgRn00BzSbZzhNviThttps://chat.whatsapp.com/BNHYlv0p0XX7K4YOrOLei0

In this episode, we conclude our three-part look at V for Vendetta by Alan Moore and David Lloyd, as collected by Vertigo/DC Comics! V disables Norsefire's surveillance apparatus, nudging the citizens of London toward revolution. Rose Almond takes action. Schemes are hatched as Helen Heyer and Peter Creedy vie to take control of the government. Detective Finch takes a bad trip. And Evey prepares to fulfill her destiny. As society collapses, will any of our players get a happy ending? And will they finally step into the spotlight of that vicious cabaret known as … The Comics Canon? In This Episode: ·       V's Bugs Bunny physics ·       We've got a fever, and the only cure is more Scottish brogue! ·       A surprise induction into The Comics Canon! ·       The Filth and the Fury ·       Raymond Chandler's The Big Sleep and The Simple Art of Murder Join us in two weeks as we take a long-overdue look at Will Eisner's The Spirit! Until then:Impress your friends with our Comics Canon merchandise! Rate us on Apple Podcasts! Send us an email! Hit us up on Facebook, Bluesky or The Platform Formerly Known as Twitter! And as always, thanks for listening!

In this episode, we continue our three-part look at V for Vendetta by Alan Moore and David Lloyd, as collected by Vertigo/DC Comics! Abandoned by V on the streets of London, Evey Hammond knows a brief moment of happiness before she's captured, tortured and interrogated about her role in V's crimes. Rose, widow of the late Derek Almond, suffers a series of humiliations. Meanwhile, V's body count grows as he issues an ultimatum to the people of London. Can Evey hold on to that last little inch of herself, even if it costs her her life? And can our cast of characters make it past the bouncer into that Kitty Kat Keller known as … The Comics Canon? In This Episode: ·       Remember, remember the fifth this November ·       Boy, were we wrong about Dascombe! ·       V's maybe not the greatest lyricist ·       Amy Lennox's performance of “Cabaret” ·       Gen V ·       Rogue Trooper: Tales of Nu-Earth Vol. 1 Join us in two weeks as our three-part series concludes with Book 3: The Land of Do-As-You-Please! Until then:Impress your friends with our Comics Canon merchandise! Rate us on Apple Podcasts! Send us an email! Hit us up on Facebook, Bluesky or The Platform Formerly Known as Twitter! And as always, thanks for listening!

In this episode, for … oh, no particular reason … we kick off a three-part look at the classic graphic novel V for Vendetta by Alan Moore and David Lloyd, collected by DC Comics!  Originally published in serial form in the British anthology magazine Warrior, this dystopian fantasy follows the anarchist vigilante known only as V, clad in a creepy Guy Fawkes mask, who's hell-bent on taking revenge on the staffers of a post-war “resettlement camp!” This mysterious, magnetic revolutionary rescues a 16-year-old would-be sex worker named Evey from a horrible fate at the hands of the nation's secret police, and soon enlists her in his one-man war to bring down the fascist British state! But is there more to the strangely powerful V than first appears? (Spoiler alert: Yes!) And can he hope to silence that Voice of Fate known as ... The Comics Canon? In This Episode: ·       The scourge of … THE BEATNIKS! ·       Pynchon, V? Really? ·       Maybe we shouldn't have given the guy in Room V so much freedom… ·       The Abominable Dr. Phibes ·       Kite Man: Hell Yeah! Join us in two weeks as we roll merrily along with Book 2: This Vicious Cabaret! Until then:Impress your friends with our Comics Canon merchandise! Rate us on Apple Podcasts! Send us an email! Hit us up on Facebook, Bluesky or The Platform Formerly Known as Twitter! And as always, thanks for listening!

This episode contains explicit language and talk of sexual assault. On this episode, we take a butcher's at the book that begat the critically acclaimed streaming series The Boys—specifically, The Name of the Game, collecting the first six issues of The Boys by Garth Ennis and Darick Robertson, originally published by WildStorm Productions and later collected by Dynamite Entertainment! When Hughie Campbell's girlfriend is killed during a superpowered battle, he's recruited by Billy the Butcher to join The Boys, a CIA-sanctioned squad of humans tasked with monitoring the superhero community and acting when they step out of line. Meanwhile, Annie January, aka Starlight, achieves her lifelong dream of joining the world's premier superteam, The Seven—only to find that the world's greatest heroes are corrupt, narcissistic, cruel ... and worse. And Hughie quickly learns that his new gig isn't all it's cracked up to be, either. Can these two innocents navigate this unpleasant new world without losing their souls? And can this book filled with sex, graphic violence and gross-out gags survive a meeting with that Human Resources department known as ... The Comics Canon? In This Episode: ·         A Comics Canon news break ·         We need to talk about that hamster ... ·         A discussion of The Boys on Amazon Prime Video ·         Garth Ennis' Red Team ·         The Mighty Join us in two weeks as we begin a discussion of Alan Moore and David Lloyd's V for Vendetta! Until then:Impress your friends with our Comics Canon merchandise! Rate us on Apple Podcasts! Send us an email! Hit us up on Facebook, Bluesky or The Platform Formerly Known as Twitter! And as always, thanks for listening!

In this heartfelt episode, Fred Bodimer reflects on the tragic loss of missionaries Davy and Natalie Lloyd, who, along with Jude Montes, were killed by gangs in Port-au-Prince, Haiti. The community in Neosho, Missouri, recently gathered to honor their memory. Featuring poignant testimonials from family members, including Davy's father, David Lloyd, and Natalie's father, Missouri State Representative Ben Baker, this episode highlights the Lloyds' dedication to their mission and the lasting impact of their work. Join us as we remember their legacy and the love they shared for the people they served.

THE FOLLOWING RESTRICTED PODCAST HAS BEEN APPROVED FORAPPROPRIATE AUDIENCESBY THE COMIC BOOK ADAPTATION ASSOCIATION OF AMERICA, INC.Rated R for sci-fi violence, bloody images, language and some sexuality/nudity.Crew Log: Billy Hynes Aliens: Havoc #1 by Mark Schultz & Kent Williams 00:00:17 & Leif Jones & Duncan Fegredo & D'Israeli 00:07:27 & John Totleben & Arthur Adams 00:15:38 & Gary Gianni & Geof Darrow 00:19:32 & George Pratt & Igor Kordej & Paul Lee 00:20:45 & John K. Snyder III & Mark A. Nelson & Peter Bagge 00:23:35 & Brian Horton & Dave Taylor & Kelley Jones 00:27:27 & Guy Davis & Kellie Strom & Jay Stephens 00:28:39 & Jerry Bingham & Kevin Nowlan 00:33:48 Aliens: Havoc #2 by Mark Schultz & Frank Teran 00:36:49 & Joel Naprstek & Travis Charest & P. Craig Russell 00:38:40 & Adrian Potts & Sean Phillips & Rebecca Guay 00:43:30 & Jon J. Muth & Kilian Plunkett & Ron Randall 00:48:13 & John Pound & Gene Ha & Vania Zarouliov 00:51:22 & Sergio Aragonés & John Paul Leon & Derek Thompson 00:57:35 & David Lloyd & Moebius 01:03:20 & Dave Cooper & Mike Allred & Tony Millionaire 01:04:13 MU/TH/UR 3900 01:12:06 episode art gallery blog post 20th Century Fox, Aliens (1986), Aliens Podcast, Comic Books, Dark Horse Comics, Dark Horse Presents,

A discussion taken from a lunch break in talkSPORT's recent coverage of England's tour of India between David Lloyd and Andrew McKenna as they discuss what changes cricket should embrace to improve the sport for all. Send us your suggestions by tweeting the team @cricket_ts.If you like what you hear please take the time to leave a 5 star review on the podcast page and follow @cricket_ts on X/Twitter. For even more content head over to the talkSPORT Cricket YouTube Channel and hit subscribe. https://www.youtube.com/@talkSPORTCricket hit subscribe. Thanks for listening to Following On. Hosted on Acast. See acast.com/privacy for more information.

David Lloyd joins the boys to talk Princess Peach Showtime, SaGa Emerald Beyond, Pepper Grinder plus we take a look forward to what the "Switch 2" could be. Hosted by Perry Burkum (@PBurkum), Casey Gibson (@case_jets), Alex Culafi (@culafia) Start of Show: (0:00:09) Princess Peach Showtime! (0:07:26) SaGa Emerald Beyond: (0:14:30) Pepper Grinder: (0:28:07) New Super Switch U 64 Advance Micro OLED: (0:39:13) Poll Results Time: (0:58:52) Outro: (1:10:57) Thank you for listening! We can tell that you are a good-looking person. Peep the discord: https://discord.gg/XPByvgvByQ Please write in to the show at TNPmailbag@gmail.com Tweet us @TalkNintendoPod and Instagram us at talknintendopodcast Please consider supporting us on Patreon! For just $1 you can get access to tons of exclusive content! Check us out at www.patreon.com/nwr

We're taking another Patreon episode out of the vault with V for Vendetta Remember, remember the 5th of November! This month we're discussing V for Vendetta by Alan Moore and David Lloyd. Are we using our Patreon money to buy weed? Is this comic relevant to the world today? Can you kill an idea? Did stupid people ruin the Guy Fawkes' mask for everybody else? In what ways is this comic psychedelic? Where is the absolute worst place to trip balls on LSD? Does the art in the comic feel dated? Is this Cody's first time reading V for Vendetta? Should this be one of the first comic books you read? Do we like V for Vendetta more than Watchmen? Should V ever be used in other DC comics? What editions of V for Vendetta do we own? Is there a lot of ambiguity in this comic? Should you automatically assume that V is a man? What is the true identity of V? Does it matter if V is a nobody? Could Jake handle a waterboarding? Could the Warriors of Virtue take V in a fight? What dark secret from high school does Anthony have? Does Cody have a dark secret too? Is V for Venereal Disease? Which villains from the comic would we be? Who is a behind-the-scenes cucklord? Could V defeat Patreon exclusive character Betty Yayo 2069? What Stanley Kubrick movie are we planning to do an episode on? What new podcast rule do we make up for this episode? Are all of the characters unlikable? Did Jake want Evey to die? Who quotes Gandalf this episode? How does Evey finally become free? What does V's voice actually sound like? How is V similar to The Joker? Who is V-23? Should there be a sequel to the V for Vendetta comic or movie?Plus, we reveal our top 10-20 favorite comic books of all time! Check out our Patreon: ⁠⁠⁠https://www.patreon.com/ComicsandChronic⁠⁠⁠ Check out our website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.comicsandchronic.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ New episodes every THURSDAY Follow us on social media! Instagram // Twitter // TikTok : @comicsnchronic YouTube: ⁠www.youtube.com/channel/UC45vP6pBHZk9rZi_2X3VkzQ⁠ E-mail: comicsnchronicpodcast@gmail.com Cody Twitter: @Cody_Cannon Instagram: @walaka_cannon TikTok: @codywalakacannon Jake Instagram: @jakefhaha Anthony Instagram // Twitter // TikTok : ⁠@mrtonynacho⁠ YouTube: youtube.com/nachocomedy

THE FOLLOWING RESTRICTED PODCAST HAS BEEN APPROVED FOR APPROPRIATE AUDIENCES BY THE COMIC BOOK ADAPTATION ASSOCIATION OF AMERICA, INC. Rated R for sci-fi violence, bloody images, language and some sexuality/nudity. Crew Log: Billy Hynes Aliens: Glass Corridor #1 by David Lloyd 00:01:15 Aliens: Stalker #1 by David Wenzel 00:12:55 Aliens: Wraith #1 by Jay Stephens & Eduardo Risso 00:27:37 MU/TH/UR 3600 00:39:43 episode art gallery blog post

Broadcasting on the Voice of Fate Giles Richards returns to discuss one of the all-time classics: V for Vendetta by Alan Moore and David Lloyd. We talk about some of the very emotional moments in this book with spoilers for some big reveals. Pray the future will never need V for Vendetta! Find Giles on The Gurdian and order his new book F1 Racing Confidential.You can find a list of all the upcoming books on the Facebook page, follow the podcast on instagram, Threads, Mastodon, and BlueSky. And email me comments and suggestions to MCBCpodcast@gmail.comMusic used in this episode is Circuit Breaker by the artist Robodub. If you cannot see the audio controls, listen/download the audio file here Or Download here Right click and choose save link as to download to your computer.

In this episode Seann Walsh and Paul Mccaffrey are joined by comedian Alex Lowe to moan about people saying “yourself”, Ending with a laugh in conversation, David Lloyd & VAR! Please Subscribe, Rate & Review ALSO Please go and see Alex aka Clinton Baptiste on tour it is a fantastic show and highly recommended visit https://www.clintonbaptiste.com for tickets. And for those of you who said that 15 minutes was not enough head on over to www.patreon.com/wuyn where you can support the podcast and get access to full hour long episodes, New sections, Early access to ad free guest episodes, An opportunity to be on the podcast and much more!! Follow us on Instagram: @whatsupsetyounow @Seannwalsh @paulmccaffreycomedian @mike.j.benwell Learn more about your ad choices. Visit podcastchoices.com/adchoices

BE WARNED: It's LuAnna, and this podcast contains honest, upfront opinions, rants, bants and general explicit content. But you know you love it. In this week's LuAnna: The Podcast: Lots of pussy(Cat) chat, Lu's speeding fine, Anna's David Lloyd gig, we made the news, ponchos, debt troubles and kissing randoms on the street. Plus, Stephen Bear, wanking at work, toenails, the naked poo watcher and more. Remember, if you want to get in touch you can: Email us at luannathepodcast@gmail.com OR drop us a WhatsApp on 07745 266947 Please review Global's Privacy Policy: https://global.com/legal/privacy-policy/

On today's #NCFWhittle we are joined by Emma Hardy, a gender critical mother who is suing David Lloyd Gyms over their policy of allowing people born male to use female changing rooms in which her daughters might also be changing. To help crowdfund in support of Emma Hardy's law suit, please visit: https://democracythree.org/help-emma-sue-david-lloyd --------------- SUBSCRIBE: If you are enjoying the show, please subscribe to our channel on YouTube (click the Subscribe Button underneath the video and then Click on the Bell icon next to it to make sure you Receive All Notifications) AUDIO: If you prefer Audio you can subscribe on iTunes or Soundcloud. Soundcloud: https://soundcloud.com/user-923838732 itunes: https://itunes.apple.com/gb/podcast/s... SUPPORT/DONATE: PAYPAL/ CARD PAYMENTS - ONE TIME & MONTHLY: You can donate in a variety of ways via our website: http://www.newcultureforum.org.uk/#do... It is set up to accept one time and monthly donations. JOIN US ON SOCIAL MEDIA: Web: http://www.newcultureforum.org.uk F: https://www.facebook.com/NCultureForum/ Y: http://www.youtube.com/c/NewCultureForum T: http://www.twitter.com/NewCultureForum (@NewCultureForum)

On this week's episode, I have Writer/Showrunner Max Mutchnick from Will & Grace, The Wonder Years, and many many more. Tune in as we talk about his journey as a writer and what some of his creative goals and hopes are for the future.Show NotesMax Mutchnick on IMDB: https://www.imdb.com/name/nm0616083/Max Mutchnick on Instagram: https://www.instagram.com/maxmutchnick/?hl=enMax Mutchnick on Twitter: https://twitter.com/MaxMutchnickMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMax Mutchnick:By the way, I think Miley Cyrus is the only sitcom actor who is able to move the needle. They push you during sweeps. Can you get a Shatner? If we could get Shatner on Big Bang. I know we'll write, that's probably not a good example because it probably worked. But for the most part, shows just get what they get. They always get what they get. It doesn't matter. These co-stars and these, none of that mattered,Michael Jamin:Right?Max Mutchnick:Is it funny? And do you like the people? Do you like the people? Do you like what? They like the world of it?Michael Jamin:You're listening to, what the Hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity. I'm talking about writing, and I'm talking about reinventing yourself through the arts.Hey everyone, welcome back to another episode. Today, I have a wonderful guest that no one deserves to hear. And yet, as a gift, if you're driving your car, pull over, you're going to want to hear this guy, this man and his writing partner, they are responsible for literally one of the biggest hits in the modern era. I'm talking about Will and Grace. This is the co-creator of Will and Grace Max. Much Nick, but lemme tell you what else he's done. All right. It's not just that. I'm going to run through his profile for a second and then I promise I'll let him get a word in edgewise. One word's Dennis Miller show. He was right around the Dennis Miller Show, the Wonder Years Good advice, the single Guy Dream on co-creator of Boston Common Co-creator of Good Morning, Miami Co-creator of Twins, co-creator of Four Kings. This guy's got a lot of work done. Shit, my dad says. Co-creator, partners co-Creator clipped, co-creator, and of course Will and Grace Max, welcome to the show. And let me tell you why this is so meaningful to me to have you hereMax Mutchnick:And me too, just to get an award in.Michael Jamin:Okay? I wonder if,Max Mutchnick:And by the way, those credits were in no particular order.Michael Jamin:Well, it is the IMDB order.Max Mutchnick:It's a weird order, but I'm still thrilled to be here. So I'm going to let you keep going because I like all this.Michael Jamin:Everyone loves having smoked Blunt.Max Mutchnick:It's fantastic.Michael Jamin:Let me tell you why it's so meaningful, because one of the very first jobs I had in Hollywood, I was a PA on a show called Hearts of Fire a max, and his partner writing partner David, were, I don't know if you guys were staff writers or story editors,Max Mutchnick:I think on Hearts of Fire, we were staff writers. I think we were staff writers. Yeah.Michael Jamin:So I'd get you lunch. That's basically it. But you guys were, you guys were so kind. You always let me in. I come into your office, you'd invite me into your office, which to me felt like a big deal. And you guys were both, to me, you were the epitome of what a comedy writer is supposed to be like larger than life, charismatic, funny, ball busting, but also just, I don't know, just energetic and enthusiastic and bursting with creativity and to be around you guys threeMax Mutchnick:Seconds away from tears at all times.Michael Jamin:Yeah. Oh yeah, thatMax Mutchnick:Too. But I mean, we maybe didn't show that to you, but again, I hate to interrupt you when you're saying all this nice stuff.Michael Jamin:Well, I do remember one time, David, I was sitting with you and he's like, what have you heard? I'm like, what have I heard? What do you hear? I'm like, dude, you guys are the only people who talk to me. What have I heard? Nothing.Max Mutchnick:That's so good. What have I heard? And I was listening to you, and by the way, it gives me nothing but joy to be here, and I have to do full disclosure. So I start watching you and listening to you, and this is what happens when you get to be 40 57. I said, I'm like, I know him. I have a feeling of love for him. I do not know how we know each other. It's so funny. I couldn't remember the show that we worked on. I couldn't remember the show we worked on. And then I heard you talking about Mike and Maddie. Yes. The other day. And it was, which isn't on my IMDB page.Michael Jamin:It is. I skipped over it. I didn't want to embarrassMax Mutchnick:You. Yeah, no, I'm glad that we can talk about that too. But it all started at Hearts of Fire.I mean, it's just unbelievable. And that was such an incredibly formative time, and it's so interesting to me that you had this experience of us is mean, and by and large, that's what we are. I mean, I always look back on life and I reflect on it, and I'm always happy when I look back on the things that I've done and where I've been and where I'm going and all that stuff. But today, not so much. What do you mean? Well, it's like I'm saying, when I'm in the moment of today, a lot of times I really can get wrapped up in being depressed about the business and where things are. And I am starting to say things that like old people say, and I don't want to, because I always thought I would never do that. I would never say the business isn't like it used to be. But I'mMichael Jamin:Surprised you even feel that way. You've already accomplished so much. I don't think I would ever get to your level of success. I would've stopped long before.Max Mutchnick:I mean, that's nice. And I know that there are people who are in my position who feel like they've done it. And definitely the collision of a career and social justice, which kind of took place with Will and Grace, the idea that we did this thing and that it had a reverberation on another level should be enough. But I am still a guy with ambition and drive, and I still feel like I have more to say, and I'm not spoiled in that sense. I really don't want to be done at this age. And if anything, my ego is in a better place because I can even fantasize about the idea of being in a room that I wasn't running, which is crazy because that's in the middle of my career when it's at that really hot space. It's like, oh no, I could never be in a room that I wasn't in charge of. But that's not how I feel so much. But theMichael Jamin:Hours are so long and exhausting and you're like, sure, I'll work till two in the morning every night. Well,Max Mutchnick:I couldn't. That's the one thing I would don't feel like that is something that ever needs to be the case. I'm way into having dinner with my family, and I feel like it's after 10:00 PM it's diminishing returns. I actually think after 8:00 PM it's diminishing returns because emotionally you get so your skin starts to break out. You're eating out of styrofoam, and it's just not, it's so bad for where you are. You have to just love the fucking show you're on. Can I say bad word? YouMichael Jamin:Can say, sure. You can say show.Max Mutchnick:You have to love where you are so much to be working late or own. ButMichael Jamin:How did you keep, were the hours good on Will and Grace?Max Mutchnick:Yes. Because we've run a meritocracy and we always have, and that is the best idea will out. So I don't care if it comes from a LB like Michael Jamin or if it comes from John Acquaintance, wherever the best idea and wherever the most honest idea that's organic to the characters comes, and that's the one we're going with. And I'm very, I think one of the things you master or you have to master to be a showrunner that works well and runs a tight ship is the ability to say no quickly and without a lot of ting. So I'm going to say no, and I'm going to say it quickly, and it's going to feel like it hits you hard, and maybe it does. But in order for us to run a tight ship, that's just the way that it has to go. Famously, one of the best showrunners of all time, David Crane, I guess really, it was very democratic and everybody got to talk and pitch, and he didn't cut things off fast. I mean, sometimes there's a German there and you've got to find it and tease it out and stuff like that. But for the most part, immediately, no, that's not the way that we're going. And no, that's not the way the character.Michael Jamin:And they had long hours in that show,Max Mutchnick:Very, very long hours. They famously worked really late. And I was also listening to you the other day talk about those schools of,Michael Jamin:And that's what I was going to get to.Max Mutchnick:Yeah. And you could say that you talked about, there's the Friends school. I think there's also the Diane English strain. Did you mention that one?Michael Jamin:No, I did. I only really mentioned the one that I thought I came from, I think I came from, which was Frazier. Cheers Taxi. Right.Max Mutchnick:And I call that that's the David Lloyd's, I mean,Michael Jamin:And Chris Lloyd, yeah. Okay. What would you say your lineage would be then? And do you agree with that?Max Mutchnick:Yes, I did. I agreed with everything you said. I mean, my lineage is actually, it's a must see TV sound. It's an NBC, it comes down, but that's really the friend sound. And I come from that because my first real job was on Dream on which Martin David created. And then I came in late. David and I came in late on that show, but I also come from the Diane English School because Michael Patrick King was such a giant influence in my sound,Michael Jamin:And that was good advice or whatMax Mutchnick:Good advice. But he had come from Murphy Brown. Right, of course. So if you worked at Murphy Brown, you prayed at the altar and English. I mean, but those friends people, they just spawned so much, soMichael Jamin:Much. But you don't run the show the way they did, though.Max Mutchnick:Not at all. No, not at all. Yeah. We learned as much on shows from what not to do than from what to do. The benefit of being on shows where there, it's just, and I'm not using David Crane as an example because I've never been in a room with him, but we have been in rooms where either we weren't used or there was just endless talk that went absolutely nowhere and the decisions weren't made to just, that's good. That's it. Put it up on the board. You can get there very fast and not like there is a famous school that I don't want to talk about that it's good enough. It's good enough. It's good. Enough's not what I'm talking about. I don't do, it's good enough. But there is a world of shows that's run with that ethos.Michael Jamin:See, I thought one of the first, the advice that we got when we started running shows was I think it was Steve Levitan who said, just pick away, even if it's wrong, pick away. Yes. Or you lose the room.Max Mutchnick:Yes. I mean, it's like you can fu around forever about, oh, what you want to do with your life. I don't necessarily know that this was what I was going to do, but it happened and I went for it, and I got rewarded at a certain point. I feel like if you get rewarded in something that you're doing within six months to 12 months, stay there.Michael Jamin:Were you running a show that wasn't your own, it was your first job at, or No,Max Mutchnick:I'm I'm rare. I'm rare in that regard that I was at Emerson in college, and my dear friend was a comic named Anthony Clark. And Anthony called me and said, they're making shows now in la and there's a company that's very focused on writers who have strong relationships with standup comics. And the company was Castle Rock. And Larry David was just making Seinfeld at that time. And the guy that ran the company with Rob Reiner was a wonderful man named Glenn Paddick. And he gave us our first break, but we had to go into Warren Littlefields office as these young guys and argue for why would I ever give a show on this golden network to two guys that have never done the job before? You've never run a show.Excuse me. I was on single guy. So I mean, I had worked, but I had never run a show. The first time I ran a show and I wasn't even close to running a show. I was a co-producer. And I went in there and I said to him after I got David Cohan a white shirt with a collar like, you have no idea. The Prince of a collar and a what? The difference that it makes put on a goddamn buttoned up shirt. And we go and we sit in there and I say to Mr. Littlefield, who I owe a great deal to, if you give me the keys to the car, I promise not to scratch the car. And if I scratch the car, you can take the keys away. You can bring in whoever you want. They can oversee me, but just give me, literally give me a week, give me a show, and I already know what to do and not to do, and I'll run this thing the right way.Michael Jamin:Wait, this was before you wrote the pilot? This was just to get the chance to,Max Mutchnick:We had written the pilot and they wanted to make it. Oh, okay. And then they said to our agents, or they said to Glenn Pad, Nick, these guys have no experience. You've got to go get showrunners. And I was just so anti the idea that someone was going to creatively be open, and I asked for the meeting and I begged him, and I kind of tell that story. And the whole truth of that story is a day or two before he went to our agent and said, I want someone at that table read who runs a show. I want an experienced showrunner in case at the pilot table read, they fall apart. And God bless the writing team of Roberto, Roberto Bebe and Carl Fink, even Fink, I think. And I could be getting that wrong, and I hope someone calls us out on it. But anyway, those guys were so cool. And they sat at the table read, and we got our notes, and then they walked up to us on the stage where we were shooting the show on Radford, and they were like, you got this boys, we'll see you later. And we never saw again. Really. And then we were show running.Michael Jamin:Did you bring top heavy writers to the firstMax Mutchnick:David's sister who wasn't the superstar,Michael Jamin:Right. That she's nowMax Mutchnick:WasMichael Jamin:I'm talking about your first staff I'm talking about.Max Mutchnick:Yes, I know. Yes. Really. And I don't know who the third one was. I remember there being, it was a mini room before. It was self-imposed before it was imposed on us. And it was just this very tiny group because David and I didn't know how to ate and do all that. And we figured we would do all of the heavy lifting, which was not possible. And we eventually brought in Carrie Lizer, but we started with a very, very tiny group of writers and just crawled our way through.Michael Jamin:Wow. Yes. It's cool. Should we spend the next 59 minutes talking about the single guy, or should we continue talking aboutMax Mutchnick:Your No, no. Can't talk about that show. But it was really cool to work with Ernest Borgne, and I'll just put it to you. Yes. What is the, I'm going to ask you a trivia question.Michael Jamin:JohnnyMax Mutchnick:What?Michael Jamin:Johnny was his name?Max Mutchnick:Yes. Wasn't it? Yes. I went to high school with him, so that's not, and his dad was Johnny Silverman's father was David Cohen's rabbi in real life. Oh, wow. But I mean, we lived in an industry town. That's what it was. But no, Ernest Borg nine, in addition to having a wife that was a cosmetics had of cosmetics Dynasty, Tova nine was the name of all the lotions and potions. Earnest Hemmingway, little known Borg. What?Michael Jamin:Borgnine, not Hemmingway. Not Hemmingway.Max Mutchnick:Shit, that would be so bad. Ernest Borgne had the best collection of what? Does anybody knowMichael Jamin:Doug?Max Mutchnick:No, no, no. He had a good one though.But moving on, he had the best collection of Abraham Lincoln memorabilia because on the weekends, he used to go to Beacons moving and he would sell off the dregs of whatever was left in a truck that people didn't pick up. And one time he went and he bought a painting, and it was of Abraham Lincoln, and he takes it to wherever, Sotheby's or Heritage, whatever he did. And it turns out to be one of only two portraits ever painted of Abraham Lincoln while he was in office. Wow. That started this epic collection. We've digressed into such boring stuff. And I blame you. IMichael Jamin:Blame you. I brought up,Max Mutchnick:You're running this room. You could cut me off at any point.Michael Jamin:No, I could not. But let me ask you this, though. You've created so many shows, and obviously the writers are the same. So what is it, why was Will Grace, why that one not the other ones? Why was that one that blew up?Max Mutchnick:Well, I think I have a glitch in my casting programming. I didn't know to second guess myself in the way that I did after Will and Grace. I mean, it's a great question because it is the thing that, if anything, it could be a regret in my life. It's that I haven't made great decisions at crunch time andMichael Jamin:Wait, so you think it was casting decisions, you think, but you don't get to catch.Max Mutchnick:You put it on the page, and then it's these brilliant actors that have to operate in a medium that's not respected, but possibly the hardest form of acting. And there are very, very few people that can do it as well as the ones that we know. And Jim Burrows always says it's lightning in a bottle.Michael Jamin:Yeah, it is.Max Mutchnick:So it's that, and it's less Moonves also being not great to me.Michael Jamin:Well, I mean, I was going to say, every casting decision has been approved by a million other people. It's not like you could, right?Max Mutchnick:I know. And you want to believe it at the time, and you get in there and you sell, and you do your thing. And then sometimes you don't believe in a person that's going into a cast, but Les has got a thing for that person, so they go in there. But by the way, that man gave me a lot of breaks, and he was good to me for a period in my life, but I also think he did some super fucked up things to our shows too. Partners should have stayed on the air, and he took partners off the air too quickly, and no one had done anything like that. And they should have explored a gay guy and a straight guy being best friends. That's an interesting area.Michael Jamin:What is it? But you guys mostly work in sitcom. I know you did some movie work, but is that just the form you wanted to be in? Is there any other itch you have?Max Mutchnick:No, not really. It just kept, I mean, we kept every few years when they say it's back, we want them, let's go to people that know how to make on that list. And I mean, I'm doing it again, by the way, since this strike is over, and I hope that they work.Michael Jamin:What you're taking outMax Mutchnick:Multicam Ideas couple. Yeah. Yeah. We're working on a couple of Multicam right now that I'm really excited about, but I would love to not do it anymore. I would love to not do it anymore.Michael Jamin:What do you mean you'd love to not do it? I don't understand. IMax Mutchnick:Would love to write what I think single camera comedies are, which is a beautiful, when it's done exquisitely. I think it's, if you write Fleabag, that's like the masterpiece.Michael Jamin:It was a masterpiece, but it was a play. I remember watching you go, this is a play.Max Mutchnick:Yeah, but you can't, I don't know. You can't knock it like that. It doesn't, oh,Michael Jamin:It's not a knock. I mean, it's a compliment. I mean, these long monologues, and it's just not done. ButMax Mutchnick:She still was so brilliant that she figured out, she figured something out about how to make great fuckingMichael Jamin:Episodes. Oh, listen, we're on the same page. I was a masterpiece fricking masterpiece. And what I like about it is that it does feel like a play to me. It's really, it's conversational and it's intimate and brave. It's courageous, man. Man.Max Mutchnick:I think it's the final 20 minutes of the second season. I think that it, it'd be hard pressed to find a better single camera comedy ever written. Yeah, I agree. From the moment the priest shows up at her apartment to sleep with her. And I think that goes straight to the end. I don't know. Beat for beat where I've ever seen it, where I've ever watched a better script.Michael Jamin:How do you feel when you watch something like that? What does that do to you? Because you're a professional writer with a huge, great track record. How does that make you feel?Max Mutchnick:I only have that attitude of the more, the merrier. It's only good to me if you're asking me in a coded way, am I ever jealous of somethingMichael Jamin:A little? Yeah.Max Mutchnick:I mean, yeah. Would I like to have created the bear? Sure. Yes. But I'm more proud of Chris store and impressed that I know him, and I love, and I love that that happens. I mean, I get more offended by the bad stuff. I just can't stand the bad stuff, the good stuff. I'm like, God damn, that's exciting. That got made, and somebody left that writer alone and their vision was carried through to the end.Michael Jamin:Hey, it's Michael. If you like my content, and I know you do because listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people like you can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michael jamin.com and now back to What the hell is Michael Jamin talking aboutWill and Grace, you could tune in an episode, and you knew you were in for some big, big laughs every episode. And I don't know, you were inviting these friends into your home every week. That's what it felt like. You were inviting your friends over. And there's an art to that.Max Mutchnick:Yes. And there's an art to picking the best writers that money can buy, which is what Will and Grace always had. I mean, the star power in the writing room at Will and Grace was spectacular. And I mean, to a person, it had the best run of writers, but the only time it went off the rails is if the heart got taken out of a story. And if the heart wasn't there, then the thing didn't hold up. That's right. And so you have to lay a foundation in the first act and make sure that all that stuff is true and real at the beginning. And then you can go kind of wherever you want in the second act. Then you can get nuts and then resolve in a very real way. But if you don't actually start from a true place of, oh my God, I cannot believe you are sleeping with my brother, that hurts me so much. Why? Because you're mine. Whatever that story is, you want to just hit those notes that everybody understands.Michael Jamin:Now, when you rebooted Will and Grace, did you bring back the entire writing stuff?Max Mutchnick:We didn't bring back everybody, but brought back most everybody.Michael Jamin:And what's shocking about that you had this amazing writing staff and that they were available.Max Mutchnick:We had to be patient. We had to work a little bit of magic. And I also think, I mean, it's embarrassing for NBC, but David and I had out of pocket some fees.Michael Jamin:Oh, really? You wanted them that bad?Max Mutchnick:But it's worth it. It's worth it. It's like, oh, you, you're going to stop at 25 k an episode for this wildly talented person and for their integrity, and they need it to be 27 5. It's like, take it out of mine.Michael Jamin:Right.Max Mutchnick:And we had to give you the full truth on that. It was more with crew. With Crew that we did that.Michael Jamin:Did you want your old crew?Max Mutchnick:Yeah. I mean, there are people that you want, you want the show to sound the same and you want,Michael Jamin:What was it like bringing it back though, for you as a creator? ItMax Mutchnick:Was incredible, honestly. It was such an incredible thing. I mean, we brought it back thinking that Hillary Clinton was going to be president. And the twisted irony is that the game show host won the office, but it ended up really giving us stuff to write to, because if you're just preaching to the third that you have, it's like, what's fun about that? ButMichael Jamin:To me, I guess I'm interested in your characters are now much older. And now I wouldn't have thought when Will Grace ended? I'm not really thinking about where they're going to be years from now. I'm just done thinking about them.Max Mutchnick:I know, and it kind of did have a finality to it, but I mean, I've told the story, but the set was at Emerson. How was it? And it was done, and they were done with the installation, and it was getting moved back on a flatbed to la. And my husband and I were in London, and I was bereft about the way the election was going and sitting in the back of a cab, I said to him, if I had the show, I would have Karen training Rosario on a rock climbing wall. I would do a story about, you're going to go back to Mexico, but then you're going to climb back in after you go back. Right. And I just wanted that to see that visual of Shelly Morrison on a rock climbing wall and caring training her, and in response to him, those horrible policies. And Eric said to me, well, honey, why don't you just go do something about it and make it the set's where it is? All the actors are where they are, and they were amenable. Thank God, God bless them for doing that, because it didn't have to go that way. It wasMichael Jamin:Easy.Max Mutchnick:It was much easier than you would think to bring it all back together.Michael Jamin:Right. That's with the rebuilding. That's so interesting. When you guys are coming up with show ideas, I mean, are they just coming to you? Are you always coming up with ideas or is it like, okay, we got to come up with an idea?Max Mutchnick:No, I mean, I'm coming up with ideas all the time until someone pays me and then all of a suddenMichael Jamin:Nothing. Can't thinkMax Mutchnick:Of anything. Yeah. It's like, I don't know. I can't sleep. I mean, do you sleep? I don't turn. My brain doesn't shut off. And so I'm always kind of thinking about stuff. And by the way, we've written some of the things that I love the most that we've ever done. They've never seen the light of day. And I think that one of the little twisted crimes of our industry is the fact that agents and studios, if they have any sense that you've written something ago, that you wrote it back when they don't want to, it's like a loaf of bread or something like that, as opposed to a piece of art that it is still relevant. It still makes sense. These characters are vibrant and exist, but it feels like used goods even if it's never anywhere.Michael Jamin:And so you guys, your partner, you meet every day and you're coming up with ideas, or even when you're not,Max Mutchnick:I'm very good that way. I don't feel like I can stop and I don't want to stop. Dave is arguably a happier person, and he doesn't feel the same desire to beat himself to death. That's what it's, yeah. But we've had a dynamic for mean our daughters are very, very close, which Oh, really? A gift of life for both of us. But always, I mean, I say this in front of him and behind his back, our relationship has that lovely Jerry Lewis and Dean Martin, sort of one of us is in love with the other one, and one of us doesn't care. And Dave's just like, but he's my brother. So he's not like he's going anywhere. But it's just like, stop trying so fucking hard. I get a little sweaty when I don't need to.Michael Jamin:Well, yeah, you've had so much success. It occurred to me. I just remember one time I was over at your place once, I don't remember where you were living, but I remember you had Enya on.Max Mutchnick:It's so crazy. So wait, I'm going to make my relationship to Enya. I'm going to bring it back to writing sitcoms because Okay. My anxiety has always been a present part of who I am and what you referred to as the fun of coming into my office. Yeah, you're right. But it's driven by a kind of anxiety and on, I guess it would've been good advice for Michael Patrick King. I was having such heavy, crazy anxiety. Anxiety to the point of passing out anxiety that I had to go every time we had a break down to my car and listen to Anya on AC cd.Michael Jamin:Is it because you're worried you're going to be fired? Is that whyMax Mutchnick:I just didn't have that? There's a, that very scary moment of existing in a writing room of what your output is. Like Jeff Astrof, by the way, such an incredible writer in a room, such a good room person. But he lives by the thing. If I don't put a joke into that script today, I can't go to bed tonight. And that drives a person. And I just was in these, so you have to get, but Michael Petra king got me a little bit more comfortable with, I listen to you sometimes and I watch you construct comedy on the fly, and I am impressed with it. And I think, what the fuck? Can't I still do that? But I tap into something different. I tap into a different thing because I think life just across the board, other than rape and cancer and Israel is pretty much, everything is funny. And I feel really good about exploring the most uncomfortable truths of my life, and that's where I get the stuff from. But I wasn't there. I wasn't there, and certainly not at the beginning. And Dave Cohan comes from such a pedigree family that it was second nature to him to just construct really clever wordplay and stuff like that. And I was really panicked about that at the beginning.Michael Jamin:Interesting. Because you know that in the room of writers, if I'm going to choose a team of writers and I have eight picks, the first eight are story people, not joke people.Max Mutchnick:And that's that generic question you ask a writer when you interview them. So what do you think you're best at story or, well, really good at story, right? They're really good at story.Michael Jamin:You're good at stories.Max Mutchnick:You can tell a fucking story.Michael Jamin:None of you'reMax Mutchnick:Good. It's crazy. It's crazy how many people can't tell a story or the joke thing of you want to say to people and you don't. It's like, okay, close your eyes. Go to the table, put that joke in the actor's mouth and tell me the response that you hear. Do you actually hear people laughing at those words? Because that's how I always do it. I'm like, and then it becomes second nature. Yeah, that sounds right. They will make ew. She'll make ew funny. That will get a laugh. That will get a laugh. But it's always shocking to me like the clunkiness sometimes that's pitched and it's like, that's not going toMichael Jamin:Work. Yeah. Yeah. How funny. How funny.Max Mutchnick:And if I'm calm and you got time, it's like you can try to get it, but you want a Michael Jamin in your room to just give it to you. Done.Michael Jamin:Oh, give it to me. Done. It's so interesting. Go starting out. I was just a joke guy. And then you won't keep your job long if that's all you understand, right?Max Mutchnick:No, you have to be able to, because you go to that run through and the entire back half of that story falls apart. So you have to be a technician to say, if you do this and you do that, the back half will, as we say, it's an F 12, it will write itself. It never does that, unfortunately. But I will tell you this, speaking of that, during all of this AI and the strike, and my writer's assistant that's been with me for a very long time, and I won't say his name because he hates that he's a writer's assistant, but he's incredible. A friend gave him a Will and Grace, an AI written Will and Grace.Michael Jamin:Oh, andMax Mutchnick:I mean, this is the upsetting part.Michael Jamin:No, don't go there. Don't say any of this. What isMax Mutchnick:It? I know. I mean, but the truth is, it's like, well, if this is what came to me, if I sent a team off, if I sent a group off and I said, Karen and Jack are going to have a garage sale, bring me back that story. I want two, I mean, I'd break the scenes with them, but two scenes of the first act, two scenes in the second act, it's AB story. Bring that back to me. It wasn't like it was so far off.Michael Jamin:Wasn't so far off. So better than staff writer.Max Mutchnick:This isMichael Jamin:Scary.Max Mutchnick:Yeah, no, I know. I mean, I don't know. It's like if it was in front of me, we could even read it, but I don't have it. I don't want to give any credit to that, but I'm going to name drop. But I told that story to Norman Lear at dinner not too long ago, and he told me that someone had done it for him too on, I think it was on all of the Family. And I believe that we agreed that it wasn't an abomination.Michael Jamin:This makes me sick a little bit.Max Mutchnick:Oh, it's sickening. Yeah, completely sickening. Because it calls 246 episodes of Will and Grace. It figures out what those people sound like. I mean, look, if I delivered, I wouldn't deliver it at a table read. It would still, it would be that thing that I was talking about. There wouldn't be laughs. It didn't have, it didn't have heart construction. Yeah, but good enough. Yeah, but it could go right. That's a callback number 56 onMichael Jamin:Callback. Good enough. I posted about James Burrows yesterday about what he said. I dunno if you saw,Max Mutchnick:Oh, I did. And we should talk about that.Michael Jamin:Yeah. What's, because he basically said, and I think it was misinterpreted a little, that there are, there's only about 30 great writers to do sitcoms. And what I think he meant was 30 great showrunners or potential showrunners, not writers. ButMax Mutchnick:Yeah, I absolutely didn't agree with him. And you started to talk about it, and then always, I kind of turn you off about five minutes, but I will say this, it's like you hit on exactly what it is. The reason why we like it is because Multicam are the comfort Food of America. I mean, that is the show. You want your kid, when they come home from school, turn on an episode of friends and watch that thing, and then dinner will be ready and it goes down easy and you love it. You even can know where it's going, and it's still satisfying. But I didn't agree with Jim, and I hope that he was misquoted because I am not sure that it's over because of how much it's actually liked by Go ahead and create. Everybody loves Raymond and I dare America to not want to watch it.Michael Jamin:Well, okay, growing up, there was a show called Small Wonder. It was one of these syndicated whatever. And I would watch that. And I said to my partner recently, I was like, how come we can't get on small wonder? Where are those shows put on Small wonder? I'd rather be happy working on Small Wonder. But they don't exist.Max Mutchnick:Well, no one programs that way anymore. I still believe if someone made the commitment, I mean, they must have papered this out somewhere, but I always think, shit, if I ran a network, I would ask the higher ups. Can I please develop sitcoms from eight to 10, put them on the air, and will you give me a guarantee that I get to put them on the air for two years straight, all four of them? Because it doesn't happen like a movie. It doesn't happen. I mean, you try really hard, but it's a fluke to get anybody to get a pilot off the ground in that a scene. They don't know anybody. Right. It's the hardest thing in the world. But I believe that if Multicam, I believe that they weren't driven by star casting because star casting always fucks up a multicam. Of course, there are examples of big stars that have made shows work like Charlie and Julia even. But I mean, there's that list of names that if we weren't being recorded, I would just say it's all these fucking famous people that aren't funny. AndMichael Jamin:Wait, is it because you think they get executive producer and they give notes and they change it? They make the show what they want it to be, you mean?Max Mutchnick:Yeah. I mean, I don't give a shit about that, but that's all bad. Jim Burrows, though, won't allow that, which is a gift, though. The world is so changed that if Miley Cyrus wants to do a sitcom, by the way, I think Miley Cyrus is the only sitcom actor who is able to move the needle. They push you during sweeps. Can you get a Shatner? If we could get Shatner on Big Bang, I know we'll write, that's probably not a good example because it probably worked. But for the most part, shows just get what they get. They always get what they get. It doesn't matter. These co-stars and these, none of that matters,Michael Jamin:Right? No.Max Mutchnick:Is it funny? And do you like the people? Do you like the people? And do you like the world that they're in?Michael Jamin:That's what actually, and that is a good segue to what I wanted to talk about as well. Shit, my dad says, you guys were on the forefront. That was a Twitter popular What? ItMax Mutchnick:Was the first one.Michael Jamin:Right? The first ones. So I'm saying you were on the forefront. You were the first ones who did that. And I remembering because it was based on the Twitter feed, I remember thinking, is this what's going on now? And yes. Yes, it is.Max Mutchnick:I know. I mean, it's funny. I remember when I was a kid and all of a sudden in the music scene, there was punk rock. And I remember being a worried Jewish boy saying to my mother, ma, I think punk rock's going to ruin the world. I think punk rock's going to ruin the world. And it was like all of a sudden, Twitter, a Twitter account, a tweet for Justin Alper. Brilliant. I mean, creator Elementary with Pat Schumacher, and this was Justin's, it was his account, but at a beginning, middle to an end, when you heard it, it was just like, shit, my dad says, it's just like, well, inside that line, speaking of Hemmingway, the best story, the shortest story ever written.Michael Jamin:Yeah. What is it?Max Mutchnick:Baby Shoes for Sale, never Worn.Michael Jamin:Right? Right.Max Mutchnick:They might be out of order, but those are the words I think, and shit my dad says was like, oh my God. You know exactly what that is. That's a son with being embarrassed by a father that he loves. So it was all there. It was there. Yeah.Michael Jamin:But if, I don't know, was there ever a moment like now, sure. Oh, this guy, this person has a big Twitter feed. Yes, bring him in. Let's talk with them. Right. But was there a moment when you were doing this? Are we really basing a show on a Twitter feed? I mean, I know you saw more, but I would've been worried.Max Mutchnick:Yeah, yeah. But it was literary. I mean, I don't know. Justin was just so sharp and smart, and there were ideas immediately, so it didn't feel hacky at all. But by the way, I will say this, it was one of the handful of terrible, deadly fatal casting mistakes that I made in giving the job of the Sun to the actor that we did when the actor of the hundreds of people that we read for that part, there was only one guy who came in and he was a slam dunk, and he was the one, and he was the only one of all the 500 men that read for the part that Bill Shatner said, that's the guy. And that guy was David Rum, HoltzMichael Jamin:Rum,Max Mutchnick:David m, it was so there in the room. Yeah. I forgot it was him. He understood everything. And I brought some of my own bullshit to it, and so did everybody else. David didn't, he didn't look like we wanted it. Look, we wanted a cuter person and all kind of stuff.Michael Jamin:Pretty, it's so funny. We did a show with him years later. Crummy Sweet kid, sweet guy. Interesting.Max Mutchnick:Wow. Forgot about that. Yeah. Such a talented guy. Such talentedMichael Jamin:Guy. Yeah. Interesting.Max Mutchnick:And a brother in neurosis.Michael Jamin:Yeah. Yeah. Well, let me talk about that, because you tend to put yourself into the characters you write. And how hard is that is difficult for you? Does everyone know that it's you, IMax Mutchnick:Guess? I think so. I mean, well, I only tell the stories in first person. I mean, I don't say, I have a friend who had sex with a Chauffeur for Music Express. I tell the story about what I did and how embarrassing it was and what I did and what I did to recover from it. And I got very comfortable with that. And it's made it possible to tell a lot of stories because that's what I have.Michael Jamin:But on the flip side, are you sometimes protective of the character when someone else pitches an idea and Well, I wouldn't do that. Well, it's not you. It's,Max Mutchnick:Oh my God. No. If it feels true, and it sounds true, I completely, I mean, I'm not going to go back on what I said. If your story is fantastic and it's not nuts, I mean, I want to tell that I want tell that story. Right? I mean, those are the ones that I, the ones that really like are like, oh, Jesus Christ, that's so uncomfortable. That's so uncomfortable and so awkward. And we have to do that. We have to tell that story.Michael Jamin:Did you start on your shows that you run, do you start every morning with like, Hey, what's everybody up to? Are you trying to pull stories out of people, personal storiesMax Mutchnick:We call a host chat?Michael Jamin:Is that what you called it? Yeah,Max Mutchnick:We call a host chat, because when I first started out, I knew I had a rundown of, I think Regis. Regis and who is Frank ER's wife?Michael Jamin:Kathy Lee.Max Mutchnick:Kathy Lee. Kathy Lee. And it's called Host Chat, by the way. It might've been on,Michael Jamin:Mike Madia was called that as well. Yeah. Yeah.Max Mutchnick:I mean, that's where it comes from. It doesn't come from Regis, it comes from that. And David, and I mean, it's arguably sometimes the best part of the day.Michael Jamin:Well, yeah, it's funny. You guys set up Mike and Maddie, and then you bounced off that show probably in a matter of months. And then I took, I took the job that you vacated and I was thrilled. And with you was, I dunno. For me, it was like, oh my God, this is this giant opportunity. And you guys, this is your temporary gig.Max Mutchnick:Oh, well, it wasn't a temporary gig. It was a fall from Grace. I mean, I think we had already been working, something was going on in our career, either we were in between agents or something, but that was an absolute blight. I mean, it was terrible. That experience.Michael Jamin:And why, what was it For me,Max Mutchnick:We were WGA primetime,Michael Jamin:And that was not all ofMax Mutchnick:Sudden we're writing a strip bullshit show with two hosts that hate each other. And I mean, a great thing came out of it though, the first week of the run of those shows, David Cohan is in all of the sketches.Michael Jamin:Oh, I didn't know that.Max Mutchnick:Yeah, David, we wrote him into the sketches. He played kind of this dumb PA character, and we would do these cold opens that they could never make them work. They could never make work because Maddie couldn't act. And Mike was always frustrated. But Dave's in them, they're online, I believe, and they're pretty funny.Michael Jamin:Oh my God. HowMax Mutchnick:Funny. Yeah, it's incredible.Michael Jamin:And so I guess going forward, as I take up a lot of your time here, what do you see going forward with the industry? I don't know. What does it lookMax Mutchnick:Like to you? That's one thing I won't do. It's the more I realize how little I know kind of thing. I believe this. I believe that good shows always will out. They will always happen. And even in spite of the system. So I think that that can happen. But I don't know. I'll tell you, in six months, I can come back and we'll talk about whether the multicam that I have in the hopper right now, if they work and if they get on the schedule, because things just, it just doesn't happen anymore.Michael Jamin:People think, yeah, people, when you're in it, you're made well, your next job is never guaranteed.Max Mutchnick:I don't like that 50 something year old guy that doesn't work anymore. I don't want to be that. I don't that person and I can be okay. I guess reflecting, looking back on, I tried really hard and I kind of want to, this might be embarrassing, but I really would like to show myself that I have not disconnected from the popular culture that I can tap into the way people feel still. And I'm not just a guy making dad jokes. I mean, I'm not that guy anyway. My daughters, that's not their experience. So it is just a matter of can I get the system to work on my behalf?Michael Jamin:What do you tell young writers trying to break in then giveMax Mutchnick:Advice that there's always room for one more. I mean, I still feel that way, but I feel like you've got to be, if you get on a show, I think the goal is to parrot the showrunner.Yes. Make the sound that he's making. Don't make some other weird Crispin Glover sound. Make the sound that he's making, and then improve upon that act. It's like actors that you hire to do a guest spot on a show, and they kill it, and you hire them, and then they get on the floor and they give you something else. It's like, no, no, no. Do exactly the thing that we hired you for. So a writer, it's like, I read your spec script. I love it. I love your tone. I loved talking to you. And by the way, in that meeting, I'm thinking as much about what's it going to be like to do post chat with this person and do anything else? Because I don't know that I should say this, but I will because I don't stop myself. A lot of times when we meet writers, we read them after we met them,Michael Jamin:You read 'em afterMax Mutchnick:They have a thing. If they're in the system to the point that the studio and the network are saying, oh yeah, we love this person. We think this person is great. This person's just come out of NYU. We think you'll help this person. Right? You've got to meet this guy, or you've got to meet this woman, this human. I sit down with them and then it's like, okay, you are,Michael Jamin:I wouldn't trust anything they say, though. That's the thing. Why? What do you mean? Well, because you got to meet this writer, and they're like, but I don't think they know what I'm looking for in a writer. That's the thing.Max Mutchnick:But it's like both have equal power in the hiring. So it's like you meet them, do I like them? You can read a script and then all of a sudden you imbue all the stuff that, and they're just like, Ugh. They're a drip. And they're not cool. And they're not easy to talk to. I mean, by the way, mean if the script's brilliant, you're going to hire them. But well,Michael Jamin:Also, I imagine we're also intimidated by your success too. It's not easy to sit opposite you guys,Max Mutchnick:But we try really hard to pull that out of the room as fast as we can because it gets in the way. And like I said, it's like I won't really comment on our position in the world and that kind of stuff. I just can't even think about that. If someone's coming in to talk to us, I feel as much want them to. I'm still the same as my husband says, everybody has diarrhea. It's like, I want them to like me.Michael Jamin:You still sob to Enya?Max Mutchnick:Yes. That I don't do anymore. I do. I'm a little bit my spine's illustrator. I don't have one way of doing anything is really the moral of the whole.Michael Jamin:Wow, max, I'm so appreciative that you took the time. I don't know, just to talk because oh my God, you have so much wisdom to share. It's just so interesting to hear your journey, and I don't know.Max Mutchnick:It is a joy to talk to you, and I don't usually enjoy these things as much as I have that says everything about you, andMichael Jamin:It's atMax Mutchnick:Ease. Yeah. I mean, you're just easy and good and smart and everything. A lot. I mean, your commentary throughout the strike was just fantastic and on point. And you were putting yourself out there in a way. AndMichael Jamin:Ballsy is what IMax Mutchnick:Ballsy. Ballsy. Yes, that's right. I mean, one gets scared making things when you have, I guess you don't have that much to lose.Michael Jamin:That's pretty much it. That's pretty much it. Yeah.Max Mutchnick:So can you just tell me before we say goodbye? Yeah. What are you working on?Michael Jamin:Well, we're going to talk more. We're done talking. Okay.Max Mutchnick:Okay. So do you want to wrap it up? Do we sing or what do we do?Michael Jamin:Yeah. We hug virtually and we tell everyone to be their best creative versions of themselves.Max Mutchnick:That's exactly right.Michael Jamin:Encourage people. There's roomMax Mutchnick:For one more.Michael Jamin:I love that. There's room for one more. So if you're listening always. Yeah.Max Mutchnick:No matter what it is. And God damn, I wish I could sing the theme for, I mean, if you have your sound engineer, why don't you just have your sound engineer fade in the theme from the Mike and Maddie show written by Charles Luman.Michael Jamin:MicMax Mutchnick:Shine. It's a beautiful day in America.Michael Jamin:I'm not paying for that needle drop. I got my own music. HeMax Mutchnick:Doesn't need the money.Michael Jamin:I'll talk to him. Okay. All right. Thank you again, max. I really appreciate it, Janet. Yeah. Okay. And don't go anywhere. Alright everyone, we got another more great episodes. Wasn't that interesting talk? He's a great guy. Go watch him. Go watch Will and Grace again. It's ageless. Alright, thanks so much everyone, until next week.So now we all know what the hell Michael Jamin is talking about. If you're interested in learning more about writing, make sure you register for my free monthly webinars @michaeljamin.com /webinar. And if you found this podcast helpful or entertaining, please share it with a friend and consider leaving us a five star review on iTunes that really, really helps. For more of this, whatever the hell this is, follow Michael Jamin on social media @MichaelJaminwriter. And you can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane and music was composed by Anthony Rizzo. And remember, you can have excuses or you can have a creative life, but you can't have both. See you next week.

SportsCenter host David Lloyd joins to discuss the journey he and his family have been through after learning his daughter had cancer. Also, V Foundation CEO Shane Jacobson & Executive VP of Social Impact at the NHL Kim Davis join the show to announce a collaboration between the V Foundation and the NHL. Learn more about your ad choices. Visit megaphone.fm/adchoices

SportsCenter host David Lloyd joins to discuss the journey he and his family have been through after learning his daughter had cancer. Also, V Foundation CEO Shane Jacobson & Executive VP of Social Impact at the NHL Kim Davis join the show to announce a collaboration between the V Foundation and the NHL. Learn more about your ad choices. Visit megaphone.fm/adchoices